Pricing and Purchase Info

about

NOW A MAJOR MOTION PICTURE starring ANNE HATHAWAY and JIM STURGESS

It’s 1988 and Dexter Mayhew and Emma Morley have only just met. But after only one day together, they cannot stop thinking about one another. Over twenty years, snapshots of that relationship are revealed on the same day—July 15th—of each year. Dex and Em face squabbles and fights, hopes and missed opportunities, laughter and tears. And as the true meaning of this one crucial day is revealed, they must come to grips with the nature of love and life itself.

About The Author

David Nicholls trained as an actor before making the switch to writing. He is the author of two previous novels—Starter For Ten and The Understudy. He has also written many screenplays for film and television, including the feature film adaptation of Starter For Ten. He lives in London.

Educational/Developmental Value:

Durability:

Hours of Play:

Thank you. Your review has been submitted and will appear here shortly.

Reviews

Extra Content

Read from the Book

CHAPTER ONE'THE FUTURE'Friday 15TH July 1988Rankeillor Street, Edinburgh'I suppose the important thing is to make some sort of difference,' she said. 'You know, actually change something.' 'What, like "change the world", you mean?' 'Not the whole entire world. Just the little bit around you.' They lay in silence for a moment, bodies curled around each other in the single bed, then both began to laugh in low, pre-dawn voices. 'Can't believe I just said that,' she groaned. 'Sounds a bit corny, doesn't it?' 'A bit corny.' 'I'm trying to be inspiring! I'm trying to lift your grubby soul for the great adventure that lies ahead of you.' She turned to face him. 'Not that you need it. I expect you've got your future nicely mapped out, ta very much. Probably got a little flow-chart somewhere or something.' 'Hardly.' 'So what're you going to do then? What's the great plan?' 'Well, my parents are going to pick up my stuff, dump it at theirs, then I'll spend a couple of days in their flat in London, see some friends. Then France-' 'Very nice-' 'Then China maybe, see what that's all about, then maybe onto India, travel around there for a bit-' 'Traveling,' she sighed. 'So predictable.' 'What's wrong with travelling?' 'Avoiding reality more like.' 'I think reality is over-rated,' he said in the hope that this might come across as dark and charismatic. She sniffed. 'S'alright, I suppose, for those who can afford it. Why not just say "I'm going on holiday for two years"? It's the same thing.' 'Because travel broadens the mind,' he said, rising onto one elbow and kissing her. 'Oh I think you're probably a bit too broad-minded as it is,' she said, turning her face away, for the moment at least. They settled again on the pillow. 'Anyway, I didn't mean what are you doing next month, I meant the future-future, when you're, I don't know...' She paused, as if conjuring up some fantastical idea, like a fifth dimension. '...Forty or something. What do you want to be when you're forty?' 'Forty?' He too seemed to be struggling with the concept. 'Don't know. Am I allowed to say "rich"?' 'Just so, so shallow.' 'Alright then, "famous".' He began to nuzzle at her neck. 'Bit morbid, this, isn't it?' 'It's not morbid, it's...exciting.' ' 'Exciting!' ' He was imitating her voice now, her soft Yorkshire accent, trying to make her sound daft. She got this a lot, posh boys doing funny voices, as if there was something unusual and quaint about an accent, and not for the first time she felt a reassuring shiver of dislike for him. She shrugged herself away until her back was pressed against the cool of the wall. 'Yes, exciting. We're meant to be excited, aren't we? All those possibilities. It's like the Vice-Chancellor said, "the doors of opportunity flung wide..."' '"Yours are the names in tomorrow's newspapers..."' 'Not very likely.' 'So, what, are you excited then?' 'Me? God no, I'm crapping myself.' 'Me too. Christ...' He turned suddenly and reached for the cigarettes on the floor by the side of the bed, as if to steady his nerves. 'Forty years old. Forty. Fucking hell.' Smiling at his anxiety, she decided to make it worse. 'So what'll you be doing when you're forty?' He lit his cigarette thoughtfully. 'Well the thing is, Em-' '"Em"? Who's "Em"?' 'People call you Em. I've heard them.' 'Yeah, friends call me Em.' 'So can I call you Em?' 'Go on then, Dex.' 'So I've given this whole "growing old" thing some thought and I've come to the decision that I'd like to stay exactly as I am right now.' Dexter Mayhew. She peered up at him through her fringe as he leant against the cheap buttoned vinyl headboard and even without her spectacles on it was clear why he might want to stay exactly this way. Eyes closed, the cigarette glued languidly to his lower lip, the dawn light warming the side of his face through the red filter of the curtains, he had the knack of looking perpetually posed for a photograph. Emma Morley thought 'handsome' a silly, nineteenth-century word, but there really was no other word for it, except perhaps 'beautiful'. He had one of those faces where you were aware of the bones beneath the skin, as if even his bare skull would be attractive. A fine nose, slightly shiny with grease, and dark skin beneath the eyes that looked almost bruised, a badge of honour from all the smoking and late nights spent deliberately losing at strip poker with girls from Bedales. There was something feline about him: eyebrows fine, mouth pouty in a self-conscious way, lips a shade too dark and full, but dry and chapped now, and rouged with Bulgarian red wine. Gratifyingly his hair was terrible, short at the back and sides, but with an awful little quiff at the front. Whatever gel he used had worn off, and now the quiff looked pert and fluffy, like a silly little hat. Still with his eyes closed, he exhaled smoke through his nose. Clearly he knew he was being looked at because he tucked one hand beneath his armpit, bunching up his pectorals and biceps. Where did the muscles come from? Certainly not sporting activity, unless you counted skinny- dipping and playing pool. Probably it was just the kind of good health that was passed down in the family, along with the stocks and shares and the good furniture. Handsome then, or beautiful even, with his paisley boxer shorts pulled down to his hip bones and somehow here in her single bed in her tiny rented room at the end of four years of college. 'Handsome'! Who do you think you are, Jane Eyre? Grow up. Be sensible. Don't get carried away. She plucked the cigarette from his mouth. 'I can imagine you at forty,' she said, a hint of malice in her voice. 'I can picture it right now.' He smiled without opening his eyes. 'Go on then.' 'Alright-' She shuffled up the bed, the duvet tucked beneath her armpits. 'You're in this sports car with the roof down in Kensington or Chelsea or one of those places and the amazing thing about this car is it's silent, 'cause all the cars'll be silent in, I don't know, what - 2006?' He scrunched his eyes to do the sum. '2004-' 'And this car is hovering six inches off the ground down the King's Road and you've got this little paunch tucked under the leather steering wheel like a little pillow and those backless gloves on, thinning hair and no chin. You're a big man in a small car with a tan like a basted turkey-' 'So shall we change the subject then?' 'And there's this woman next to you in sunglasses, your third, no, fourth wife, very beautiful, a model, no, an ex-model, twenty-three, you met her while she was draped on the bonnet of a car at a motor- show in Nice or something, and she's stunning and thick as shit-' 'Well that's nice. Any kids?' 'No kids, just three divorces, and it's a Friday in July and you're heading off to some house in the country and in the tiny boot of your hover car are tennis racquets and croquet mallets and a hamper full of fine wines and South African grapes and poor little quails and asparagus and the wind's in your widow's peak and you're feeling very, very pleased with yourself and wife number three, four, whatever, smiles at you with about two hundred shiny white teeth and you smile back and try not to think about the fact that you have nothing, absolutely nothing, to say to each other.' She came to an abrupt halt. You sound insane, she told herself. Do try not to sound insane. 'Course if it's any consolation we'll all be dead in a nuclear war long before then!' she said brightly, but still he was frowning at her. 'Maybe I should go then. If I'm so shallow and corrupt-' 'No, don't go,' she said, a little too quickly. 'It's four in the morning.' He shuffled up the bed until his face was a few inches from hers. 'I don't know where you get this idea of me, you barely know me.' 'I know the type.' 'The type?' 'I've seen you, hanging round Modern Languages, braying at each other, throwing black-tie dinner parties-' 'I don't even own black-tie. And I certainly don't bray-' 'Yachting your way round the Med in the long hols, ra ra ra-' 'So if I'm so awful-' His hand was on her hip now. '-which you are.' '-then why are you sleeping with me?' His hand was on the warm soft flesh of her thigh. 'Actually I don't think I have slept with you, have I?''Well that depends.' He leant in and kissed her. 'Define your terms.' His hand was on the base of her spine, his leg slipping between hers. 'By the way,' she mumbled, her mouth pressed against his. 'What?' He felt her leg snake around his, pulling him closer. 'You need to brush your teeth.' 'I don't mind if you don't.' 'S'really horrible,' she laughed. 'You taste of wine and fags.' 'Well that's alright then. So do you.' Her head snapped away, breaking off the kiss. 'Do I?' 'I don't mind. I like wine and fags.' 'Won't be a sec.' She flung the duvet back, clambering over him. 'Where are you going now?' He placed his hand on her bare back. 'Just the bog,' she said, retrieving her spectacles from the pile of books by the bed: large, black NHS frames, standard issue. 'The "bog", the "bog"...sorry I'm not familiar...' She stood, one arm across her chest, careful to keep her back to him. 'Don't go away,' she said, padding out of the room, hooking two fingers into the elastic of her underpants to pull the material down at the top of her thighs. 'And no playing with yourself while I'm gone.' He exhaled through his nose and shuffled up the bed, taking in the shabby rented room, knowing with absolute confidence that somewhere in amongst the art postcards and photocopied posters for angry plays there would be a photograph of Nelson Mandela, like some dreamy ideal boyfriend. In his last four years he had seen any number of bedrooms like this, dotted round the city like crime scenes, rooms where you were never more than six feet from a Nina Simone album, and though he'd rarely seen the same bedroom twice, it was all too familiar. The burnt out nightlights and desolate pot plants, the smell of washing powder on cheap, ill-fitting sheets. She had that arty girl's passion for photomontage too; flash-lit snaps of college friends and family jumbled in amongst the Chagalls and Vermeers and Kandinskys, the Che Guevaras and Woody Allens and Samuel Becketts. Nothing here was neutral, everything displayed an allegiance or a point of view. The room was a manifesto, and with a sigh Dexter recognised her as one of those girls who used 'bourgeois' as a term of abuse. He could understand why 'fascist' might have negative connotations, but he liked the word 'bourgeois' and all that it implied. Security, travel, nice food, good manners, ambition; what was he meant to be apologising for? He watched the smoke curl from his mouth. Feeling for an ashtray, he found a book at the side of the bed. The Unbearable Lightness of Being, spine creased at the 'erotic' bits. The problem with these fiercely individualistic girls was that they were all exactly the same. Another book: The Man Who Mistook His Wife for a Hat. Silly bloody fool, he thought, confident that it was not a mistake he would ever make. At twenty-three, Dexter Mayhew's vision of his future was no clearer than Emma Morley's. He hoped to be successful, to make his parents proud and to sleep with more than one woman at the same time, but how to make these all compatible? He wanted to feature in magazine articles, and hoped one day for a retrospective of his work, without having any clear notion of what that work might be. He wanted to live life to the extreme, but without any mess or complications. He wanted to live life in such a way that if a photograph were taken at random, it would be a cool photograph. Things should look right. Fun; there should be a lot of fun and no more sadness than absolutely necessary. It wasn't much of a plan, and already there had been mistakes. Tonight, for instance, was bound to have repercussions: tears and awkward phone-calls and accusations. He should probably get out of here as soon as possible, and he glanced at his discarded clothes in preparation for his escape. From the bathroom came the warning rattle and bang of an ancient toilet cistern, and he hurriedly replaced the book, finding beneath the bed a small yellow Colman's mustard tin that he flipped open to confirm that, yes, it did contain condoms, along with the small grey remains of a joint, like a mouse dropping. With the possibility of sex and drugs in a small yellow tin he felt hopeful again, and decided that he might stay a little longer at least. In the bathroom, Emma Morley wiped the crescents of toothpaste from the corner of her mouth and wondered if this was all a terrible mistake. Here she was, after four romantically barren years, finally, finally in bed with someone she really liked, had liked since she'd first seen him at a party in 1984, and in just a few hours he'd be gone. Forever probably. He was hardly likely to ask her to go to China with him, and besides she was boycotting China. And he was alright, wasn't he? Dexter Mayhew. In truth she suspected he wasn't all that bright, and a little too pleased with himself, but he was popular and funny and - no point fighting it - very handsome. So why was she being so stroppy and sarcastic? Why couldn't she just be self-confident and fun, like those scrubbed, bouncy girls he usually hung around with? She saw the dawn light at the tiny bathroom window. Sobriety. Scratching at her awful hair with her fingertips, she pulled a face, then yanked the chain of the ancient toilet cistern and headed back into the room. From the bed, Dexter watched her appear in the doorway, wearing the gown and mortar board that they'd been obliged to hire for the graduation ceremony, her leg hooked mock-seductively around the doorframe, her rolled degree certificate in one hand. She peered over her spectacles and pulled the mortar board down low over one eye. 'What d'you think?' 'Suits you. I like the jaunty angle. Now take it off and come back to bed.'

Bookclub Guide

US1. To what extent do Emma’s thoughts and assumptions about Dexter [pp. 5-6] and Dexter’s sketch of Emma [pp. 8-9] rely on facile stereotypes they each harbor? In what ways do they embody more measured reflections? How accurate are their assessments? Does their initial encounter make the reader more sympathetic to one of the characters? In what ways might the reader’s gender, experiences, and prejudices affect their feelings about Emma and Dexter?2. What determines the path Emma follows in her post-university years? In addition to being a wonderfully comic interlude, how does her stint with Sledgehammer Theater Cooperative enrich the portrait of the time in which the novel is set? Is Emma’s explanation of why she ended up working at the tacky Mexican restaurant—“there was a recession on and people were clinging to their jobs. . . . the government had ended student grants” [p. 56]—honest? Have circumstances and “the city defeated her” or is she responsible for her own plight?3. In his unsent letter Dexter writes, “I think you’re scared of being happy. . . . that you actually get a kick out of being disappointed and under-achieving, because it’s easier. . . .”[p. 42]. How do Dexter’s insights into Emma compare to her own? Is he more perceptive about her than he is about himself? Does Emma underestimate her talents and potential? Despite its carefree tone, does Dexter’s letter betray certain doubts or misgivings about himself?4. Does Dexter’s meteoric rise in television change the fundamental dynamics between Dexter and Emma? What aspects of their relationship remain unchanged? What influences the things they say and, perhaps more importantly, what they don’t say, during their afternoon on Primrose Hill [p. 60-72]? Were you surprised to find them vacationing together in Greece the following year? Who is more aware of—and affected by—the sexual tensions and temptations they both experience?5. Is Dexter’s idle vision of his future [p. 9] realized during “the late twenties” (chapters six through nine)? In what ways is the actuality of his life an ironic comment on his expectations? Does he act in ways that undermine his happiness? Discuss, for example, his visit to his parents [pp. 120-135]; his humiliating debut on Late-Night Lock-In [pp. 176-7]; his hostile, crude manner at dinner with Emma [pp. 205-210]; and his glib excuses and rationalizations for his actions [p.190]. What glimpses are there of his more vulnerable side? Do they make him a more appealing character?6. “At twenty-seven, Emma wonders if she is getting old” [p. 115]. Do Emma’s feelings about both the satisfactions and regrets that come with being “grown-up” ring true? What explains Emma’s relationship with Ian? Is she willingly deceiving herself (and Ian)? Despite her impatience with him and his desperately unfunny comedy routines, does she have genuine feelings for Ian?7. At the disastrous dinner on July 15, 1995, Emma declares, “Dexter, I love you so much. . . . and I probably always will. I just don’t like you any more. I’m sorry” [p. 210]. Does Dexter recognize why his behavior leads to this break? Does he care? Could the dinner have ended differently?8. Compare Dexter’s reaction to his agent’s report on how he is perceived [pp. 240, 243] and Emma’s reaction to her unsuccessful interview with a publishing executive [p. 245]. What do they reveal how each of them approaches life’s ups-and-downs?9. “Now that she was actually involved in an affair—its paraphernalia of secret looks, hands held under tables, fondles in the stationery cupboard—she was surprised at how familiar it all was, and what a potent emotion lust could be, when combined with guilt and self-loathing” [p. 221]. What does the affair with Mr. Godalming reflect about Emma’s state of mind as she approaches her mid-thirties? What satisfaction does it give her? To what extent is she influenced by the romantic notions and expectations society imposes on unmarried women?10. When he meets Sylvie Cope, Dexter thinks, “And yet, despite all this, the downturn in professional fortunes, he is fine now, because he has fallen in love with Sylvie, beautiful Sylvie. . . .” [p. 251]. In what ways does the affair open Dexter’s eyes to new possibilities and a different way of life? What flaws in their relationship does he fail to grasp fully and why? What consequences does this have on the course of their marriage?11. What is the significance of the wedding Dexter and Emma attend [p. 269-296]? What do they learn about themselves and each other that surprises, pleases, or unsettles them? What do their conversations [pp. 286, 290, 293, for example] represent in terms of their personal development as well as the evolution of their friendship? 12. What does the rendezvous in Paris share with Emma and Dexter’s trip to Greece nine years earlier? What impact does Emma’s success as an author and Dexter’s failed marriage have on the “balance of power” between them? Discuss the factors—including age, their individual circumstances, and the length of their friendship—that contribute to their willingness to be more honest and open with each other.13. Do Emma’s musings about where life has taken her [p. 381] resonate with you? What do Emma and Dexter at forty have in common with the people they were on graduation night? How does Nicholls simultaneously capture the ways people change and the persistence of individual characteristics through the passage of time?14. What demands does the unusual structure of One Day make on the reader? Discuss how the yearlong gaps between chapters; the focus on sometimes-mundane happenings rather than “big” events; and the alternation between Dexter’s and Emma’s journeys within each section increase your curiosity and engagement with the novel.15. Callum is casually mentioned as mutual friend in Chapter 2 [p. 21] and chapter 6 [p. 109] and Ian makes his first appearance simply as Emma’s co-worker in Chapter 3 [p. 37]; both will become significant figures. What other secondary characters become more important than the protagonists—and the reader—anticipate? What do these “surprises” reflect about the way lives unfold?16. What does One Day share with traditional boy-meets-girl stories you are familiar with from books or movies? What does it suggest about the relationship between love and happiness?17. How well does the novel capture society and culture over the twenty-year period? What specific details (references to books, television programs, political events, etc.) help bring the different periods to life? In what ways do the characters embody the qualities, good and bad, of their generation?18. Throughout the novel, Dexter and Emma withhold or suppress their feeling for one another. Is one of them more guilty of this and, if so, why? What role does fate (e.g. Dexter’s unsent letter, missed phone calls, etc.), along with the characters’ assumptions and misinterpretations, play in the plot? The final section of the novel is introduced with a quote from Tess of the D’Ubervilles and in the acknowledgments [p. 437] Nicholls says, “A debt is owed to Thomas Hardy.” If you are familiar with Tess or Hardy’s other novels, discuss how his works might have influenced Nicholls in writing One Day.(For a complete list of available reading group guides, and to sign up for the Reading Group Center enewsletter, visit www.readinggroupcenter.com)

Editorial Reviews

"[An] instant classic. . . . One of the most hilarious and emotionally riveting love stories you’ll ever encounter." —People “Big, absorbing, smart, fantastically readable." —Nick Hornby, from his blog "[Nicholls] has a gift for zeitgeist description and emotional empathy that's wholly his own. . . . [A] light but surprisingly deep romance so thoroughly satisfying." —Entertainment Weekly“Nicholls offers sharp dialogue and wry insight that sounds like Nick Hornby at his best.” —The Daily Beast (A Best Book of the Summer)"Fluid, expertly paced, highly observed, and at times, both funny and moving." —Boston Globe"Those of us susceptible to nostalgic reveries of youthful heartache and self-invention (which is to say, all of us) longed to get our hands on Nicholls’s new novel. . . . And if you do, you may want to take care where you lay this book down. You may not be the only one who wants in on the answers." —New York Times Book Review"Who doesn’t relish a love story with the right amount of heart-melting romance, disappointment, regret, and huge doses of disenchantment about growing up and growing old between quarreling meant-to-be lovers?" —Elle, Top 10 Summer Books for 2010“A great, funny, and heart-breaking read.” —The Early Show [CBS]"Funny, sweet and completely engrossing . . . The friendship at the heart of this novel is best expressed within the pitch-perfect dialogue/banter between the two." —Very Short List“A wonderful, wonderful book: wise, funny, perceptive, compassionate and often unbearably sad . . . the best British social novel since Jonathan Coe’s What a Carve Up!. . . . Nicholls’s witty prose has a transparency that brings Nick Hornby to mind: it melts as you read it so that you don’t notice all the hard work that it’s doing.” —The Times (London) “Just as Nicholls has made full use of his central concept, so he has drawn on all his comic and literary gifts to produce a novel that is not only roaringly funny but also memorable, moving and, in its own unassuming, unpretentious way, rather profound.” —The Guardian (London)